Vienas Šv. Onos paveikslas, jo kontekstas ir istorija

LTŠis straipsnis – bandymas nuvalyti užmaršties dulkes nuo vieno mažai žinomo paveikslo, pirmą kartą eksponuoto 2009–2010 m. Lietuvos nacionalinio muziejaus Lietuvos Didžiosios Kunigaikštijos ekspozicijoje. Į muziejų iš Marcinkonių parapinės bažnyčios patekusio paveikslo „Šv. Ona, pati trečioji“ (Inv. Nr. T 1036) (1 pav.) stilius ir ikonografija nagrinėjami platesniame kontekste, vykdomos kūrinio pirminės vietos ir istorijos paieškos. [Iš leidinio]Reikšminiai žodžiai: Altoriaus paveikslas "Šv. Ona, pati trečioji"; šv. Onos kultas LDK XIV-XVII a.; LDK XVI-XVII a. bažnytinė dailė; Švč. Mergelės Marijos su Vaikeliu paveikslas; Čenstakavos Švč. Mergelės Marijos paveikslas; Lietuvos Nacionalinis muziejus; Merkinės Švč. Mergelės Marijos Ėmimo į dangų bažnyčia; Marcinkonių Šv. apaštalų Simono ir Judo bažnyčia; Altar painting the Virgin and Child with St. Anne (Anna Selbdritt); Cult of St. Anne in the GDL in the 14th-17th centuries; Church art of the GDL of the 16th-17th centuries; Painting The Virgin and Child; Painting of the Blessed Virgin Mary of Częstochowa; National Museum of Lithuania; Merkinė church of the Assumption of the Blessed Virgin Mary; Marcinkonys church of St. Simon and St. Judas the Apostles.

ENThe article concisely presents the rise of the cult of St. Anne in the GDL in the 14th century and its development in the 15th-16th centuries, because little data about this period survived. Data from the sources of the 17th century show that images of St. Anne were abundant in the churches of Vilnius and Samogitia dioceses. The biggest part of the article is dedicated to the painting of the Virgin and Child with St. Anne (Anna Selbdritt in German), moved to the National Museum of Lithuania from the Marcinkonys church. Based on its iconography, style, investigations for the restoration and analogies with examples of the same iconography, it has been deduced that the painting was created in the 1st half of the 17th century. It is compared with the painting of the Blessed Virgin Mary of Częstochowa from the Merkinė parish church, and an assumption is made that both paintings were created either by the same professional artist from the GDL regional school, who worked in the 2nd and 3rd quarters of the 17th century, or possibly by two collaborating artists. A combination of the Byzantine tradition and the influence of mediaeval and post-tridental art is discerned in the style of the work. There is but little doubt that both paintings once were located in the same altar of St. Anne in the Merkinė church of the Assumption of the Blessed Virgin Mary, but at present the historical data that could substantiate this assertion are insufficient. [From the publication]